SCOUNDREL IN OTHELLO

Othello was the tragedy of Shakespeare . The main character of Othello was Iago, Othello,

cassio, Roderigo, Desdemona. Othello A Moor (an African), a general in the defense forces

of the city state of Venice. His successful profession brings him high status in Venice, but his

foreign origins and color separate him from those with whom he lives and works. He is a

military man, with a reputation for courage in battle and good judgment in military matters.

Othello falls in love and marries Desdemona, but during the campaign against the Turks,

Othello is tricked by Iago into believing that his wife has been unfaithful with his lieutenant,

Cassio. Iago works on Othello's personal and social insecurity until Othello believes the

combination of Iago's lies and flimsy circumstantial evidence. Inflamed with jealousy, he

smothers Desdemona in her bed, only to find out too late that he has been misled and has

killed the woman who loved him faithfully. In despair, he kills himself. Desdemona A noble

Venetian lady, daughter of Brabantio. She organizes her life intelligently and shows courage,

love, and loyalty in following her husband into danger. She accompanies Othello to Cyprus

on the campaign against the Turks but finds him becoming distant and making wild

accusations against her. She firmly believes that he will see that she is true to him, but when

she realizes he is about to kill her, she can only feel despair and grief. She dies declaring her

love for him. Roderigo A Venetian nobleman in love with Desdemona. He has more money

than sense and pays Iago to court Desdemona on his behalf. Iago, playing on Roderigo's

hopes and gullibility, continues to help himself to Roderigo's money, and Roderigo never gets

his heart's desire. Iago involves Roderigo in an attack on Cassio, for which Roderigo pays

with his life, as Iago kills him to ensure his silence. Cassio Othello's lieutenant in the

Venetian defense forces. Cassio accompanied Othello as his friend when he was courting

Desdemona. He is popular, he speaks well, and he is lively and trusting. Iago eventually
convinces Othello that Cassio is Desdemona's paramour. Cassio is appointed governor of

Cyprus after Othello's death.

Venice, a street before Senator Brabantio's house. Iago tells Roderigo (a "gulled gentleman")

of Desdemona's elopement with Othello. Iago tells of his own hatred for Othello, since

Othello passed up the recommendations made by Iago's mediators to name Iago his lieutenant

and instead appointed Michael Cassio, a Florentine, to this position. Iago regards Cassio as

less experienced and attributes the appointment to favoritism. Iago was given a subordinate

position as Othello's ancient [ensign]. Iago gives vent to his dark thoughts, saying he will

give the semblance of serving Othello while all the while serving his own purposes. He will

disguise his true feelings, saying "For when my outward action doth demonstrate/The native

act and figure of my heart/In compliment extern, 'tis not long after/But I will wear my heart

upon my sleeve/For daws to peck at." Iago tells Roderigo to awaken the sleeping father of

Desdemona, Brabantio, to "poison his delight" and "plague him with flies". Iago calls out

"Thieves" and Brabantio appears above. Iago says "an old black ram is tupping your white

ewe" and "the devil will make a grandsire of you" [Othello is older and a black African while

Desdemona is fair]. Brabantio recognizes only Roderigo and tells him he is has already told

him he will not allow Roderigo's suit for Desdemona. Iago compares Othello to a Barbary

horse and says "your daughter and the Moor are now making the beast with two backs."

Roderigo asks if Brabantio knows of the elopement, and tells him to search his house. Iago

slinks away, not wanting to be associated with this covert action against his superior officer,

knowing he must continue to put up an appearance of love for Othello. Roderigo laments the

loss of Desdemona to Othello. Brabantio is incensed at Desdemona's actions and concludes

she must have been charmed into it—he wishes he had given her instead to Roderigo and

asks Roderigo to lead him to her. Venice, before Othello's lodgings. Iago speaks to Othello of

Roderigo's alleged harsh words attacking Othello's honor, and asks if Othello and Desdomona
have really married. Othello is confident the high regard in which he is held for his military

actions will help him win against attack Brabantio's attack. Cassio arrives with others and

tells Othello the Duke of Venice and senators want to meet with him immediately regarding

news of a Turkish attack bearing down on Cyprus. Iago informs Cassio that Othello has

married. Brabantio arrives with Roderigo. He threatens Othello with his sword, while Iago

pretends to defend against Roderigo, but Othello refuses to fight his new father-in-law.

Brabantio accuses him of enchanting his daughter with charms and drugs, and wants him

taken before the Duke. Othello tells him he is already on his way there. Venice, a council

chamber. The Duke, senators, and officers meet. The Turkish fleet is said to be bearing on

Cyprus, then another messenger says it heads instead for Rhodes, then another says the fleet

joined another on its way to Rhodes, and that the now larger fleet is again heading toward

Cyprus. Duke tells Othello he must go to Cyprus to defend against the Ottomans. Brabantio

presents his case against Othello, claiming Othello used witchcraft or potions to win

Desdemona "against all rules of nature". Othello offers to tell his "unvarnished" tale of how

he fairly won her, while they send for the lady to tell her version. Othello says her father had

welcomed him into his house and had questioned him about his exotic origins and heroic

deeds. Desdomona heard these stories and was greatly impressed, taking pity on him and

falling in love with him. Desdomona arrives and confirms that she has a duty not just to her

father but now to her husband as well. Brabantio gives her to Othello and washes his hands of

her. The Duke counsels that Brabantio should not mourn that which cannot be undone and

advises him to be philosophical, but Brabantio remains bitter. Duke asks Othello to leave for

Cyprus that night [to serve as governor and defend the island], an assignment which he

readily accepts as he is accustomed to war. He asks that Desdomona be properly placed. Her

father does not want her, and Desdomona wants to join Othello. Othello agrees and assures

the council that it is not for reasons of sexual pleasure but to satisfy her wish that he wants
her to come to join him. Desdomona is left with Iago and his wife Emilia to join Othello

soon. Brabantio warns Othello that Desdomona has deceived him, so may also deceive

Othello. After they have all left, Roderigo laments that he will drown himself, but Iago

speaks contemptuously of virtue and suicide for love and talks him out of it, arguing for

reason over passion. He argues that she will soon tire of this unnatural marriage and that he

should gather money for Iago to help him pursue his desire to win her. They pledge to pursue

revenge against the Moor jointly. To himself, Iago boasts he is making this fool his purse. He

decides on a plan: to claim to Othello that Cassio is too familiar with Desdomona and says

"Hell and night/Must bring this monstrous birth to the world's light."

Seaport in Cyprus, near the quay. The "substitute" [i.e., deputy] governor of Cyprus,

Montano, looks out to sea with other gentlemen at the storm raging. The Turkish fleet is

halted by the storm. Michael Cassio arrives by ship, and expresses worry about the fate of

Othello. Iago then arrives in another ship. Cassio describes to Montano Othello's marriage

to the divine Desdemona, "our great captain's captain". Iago enters with Desdemona,

Emilia, and Roderigo, and Cassio is quite affectionate with the ladies, asking Iago to

forgive his "bold show of courtesy" to Emilia which results from his breeding. Iago jests

about his wife's traits, talkativeness etc. Desdomona playfully asks Iago how he would

describe her, and they exchange witty word play about fair, foul, black, white, wit, foolish,

etc. To himself, Iago plots how Cassio's affection to Desdomona will play into his

purposes, saying "With as little a web as this will I ensnare as great a fly as Cassio."

Othello finally arrives by ship. and greets Desdomona with great happiness. He also greets

his old friend, Montano. Iago speaks privately to Roderigo, telling him Desdomona loves

Cassio and that her expression of love for the Moor is false, since he is like a devil and

"very nature will instruct her" in finding an alternative lover. He speaks of her lecherous

thoughts, how she and Cassio "met so near with their lips that their breaths embraced
together." He tells Roderigo to provoke Cassio that night while Cassio is on watch

[presumably in order to neutralize this competitor]. After Roderigo exits, Iago muses to

himself how he suspects the lusty Moor has had relations with Emilia, and how Iago has

himself lusted for Desdomona. He plans to practice "upon [Othello's] peace and quiet/Even

to madness." Cyprus, a street. The herald announces that Othello has proclaimed a night of

celebration for the victory and for his nuptials. Cyprus, the citadel. Othello assigns the

guard to Cassio and retires with Desdomona to at last consummate their marriage (Iago:

"He hath not yet made wanton the night with her; and she is sport for Jove.") Iago talks

with Cassio, suggesting Desdomona is provocative, but Cassio does not agree. Cassio does

not want to drink, recognizing that he does not handle drink well and has already had a

glass, but Iago talks him into it and they all drink. Iago sings drinking songs, Cassio gets

drunk, then claims the lieutenant is to be saved before the ancient. Iago hints to Montano

that Cassio has a drinking problem and wonders why Othello trusts him so. Iago sends

Roderigo to provoke Cassio. Cassio enters chasing Roderigo drunkenly and strikes him—

Iago raises a cry for help. Cassio attacks Montano, who has tried to restrain him. Othello

arrives and castigates Cassio for the brawling, for which Cassio can make no satisfactory

explanation. Othello asks who started the fight. Iago pretends he does not want to

incriminate Cassio and seems to try to defend him, while implying his guilt. Othello tells

Cassio he is no longer his lieutenant and returns to bed with Desdemona. Cassio laments

with Iago his downfall and shame from drink ("O God, that men should put an enemy in

their mouths to steal away their brains!"). But Iago minimizes the importance of

reputation: "Reputation is an idle and most false imposition, oft got without merit and lost

without deserving." Iago recommends that he appeal to Desdomona to plead his case with

Othello. To himself, Iago says he will plant the idea with Othello that Desdomona makes

her appeals for Cassio because she lusts for him—"So will I turn her virtue into pitch".
Roderigo returns and laments his declining money and lack of results, but Iago counsels

that "wit depends on dilatory time".

Before the chamber of Othello and Desdomona. Cassio arrives with musicians, who play.

A clown [country rustic] appears, speaking in puns about wind instruments, says "thereby

hangs a tail" [rather than the usual "tale" in AYLI and MWW]. Cassio asks to speak to

Emilia. Iago arrives and Cassio tells him he has asked to speak to Emilia—Iago exits.

Emilia tells Cassio that Desdomona is already advocating for him, and that Othello will

soon restore him. But Cassio asks nevertheless to speak to Desdomona alone, and enters

their quarters. The citadel. Othello tells Iago he plans to walk with others on the

fortifications (breastworks) of the citadel and asks him to deliver letters to the Senate. The

garden of the citadel. Desdomona meets with Cassio and Emilia; Desdomona assures

Cassio she will do all she can for him, and will work on Othello until he relents. Othello

and Iago appear in the distance and Cassio decides to exit, not wishing to speak then to

Othello. Iago spots them and says to Othello "Ha? I like not that." Othello has also seen

Cassio depart from Desdomona and Iago begins to plant seeds of doubt about her fidelity.

Desdomona says to Othello she was meeting with Cassio, says he is penitent—Othello says

he will not deny her wish to see Cassio reinstated. He concludes "When I love thee not,

Chaos is come again." Iago continues to build his subtle case against Desdomona. He asks

if Cassio knew of Othello's love for Desdomona while Othello wooed her—he answers

yes. Othello wants Iago to explain his evasive suspicions and ruminations. Iago cautions

Othello not to be jealous and feigns reluctance to divulge his inner thoughts. Iago reflects

on reputation "Who steals my purse steals trash" [quite opposite to his sentiments

expressed earlier to Roderigo] and cautions him about the "green-eyed monster" of

jealousy. Othello is incensed, his concern piqued, but he would require proof. Iago advises

him "Look to your wife;/ observe her well with Cassio". Iago reminds him that Desdomona
deceived her own father. Iago suggests that Desdomona desires a match "Of her own

clime, complexion, and degree,/Whereto we see in all things nature tends". Iago says to

"leave it to time" and not draw hasty conclusions, then exits. Othello says to himself "If she

be false, then heaven mocks itself." Desdomona and Emilia reappear to Othello. His head

is in pain and she offers her handkerchief—he refuses it and it drops to the ground as she

focuses on her husband's distress. Emilia picks it up after the couple leave, knowing her

husband has asked for it. Iago appears and she gives it to him in secret and after a bawdy

interchange. He refuses to tell her what he intends to do with it. To himself, Iago plans to

use the handkerchief as evidence, saying "Trifles light as air/Are to the jealous

confirmations strong/As proofs of holy Writ" and knows that his poison is already working

on the Moor. Othello is tormented by Iago's insinuations ("thou hast set me on the rack"),

laments the loss of his tranquility, wishing he were not aware of her alleged infidelity. He

becomes angry with Iago, and Iago pretends that he regrets being so honest. Iago wants to

know what evidence would be available that would prove her infidelity, commenting that

they are unlikely to catch her actually being "topped". He relates an episode when he lay

asleep with Cassio in which Cassio spoke in his sleep of Desdemona, telling her to be wary

of their love, kissing Iago as if it were her, and then he put his leg across Iago. He pauses

though, claiming this was but a dream, but Othello thinks it was a "foregone conclusion".

Now he wants to tear her to pieces. Iago tells Othello he saw Cassio wiping his beard with

the handkerchief. Othello's rage increases. Iago suggests that Othello delay the reinstitution

of Cassio in order to observe Desdemona's behavior. Othello asks Iago to murder Cassio

within 3 days and wants to murder Desdemona. Before the citadel. Desdomona asks the

clown where Cassio can be found, accompanied with more word play. Desdomona is

worried about the lost handkerchief and Emilia fails to take the opportunity presented to

tell her she found it and gave it to Iago But Desdomona denies Othello will be jealous,
saying it is not in him to feel so. Othello appears and queries her about her moist hand,

suggesting she has a liberal (licentious) heart. She begins to plea for Cassio, but he wants

her to lend him her lost handkerchief. She cannot produce it, and he tells of its origins,

sewn by a sibyl and having magic powers to hold marriage together, passed down to him

from his mother. He demands she produce it, but she still is absorbed with advocating for

Cassio. Othello leaves. The pragmatic Emilia interprets his angry behavior as jealous but

Desdomona doesn't understand why he should be. Iago and Cassio arrive. Cassio pleads

again for Desdomona's help, but Desdomona says her master is not receptive now. Iago

wonders with her why Othello could be angry, then exits. Desdomona wonders with Emilia

why Othello should have such ideas, but Emilia comments on the irrationality of jealousy.

Desdomona promises again to Cassio to plead his cause. Desdomona and Emilia exit.

Bianca, a courtesan and mistress of Cassio, arrives and wants to know why he has been

staying away from her. He gives her Desdemona's handkerchief, asking that she have it

copied. She is jealous, wondering where he got it. Cassio does not want to be seen with her

for the time being.

Before the citadel. Othello speaks with Iago— he has become obsessed over the alleged

unfaithfulness of Desdomona. Iago has told Othello that he saw Cassio with the

handkerchief bragging about lying with his mistress. Othello feels the rage of his jealousy

and rationalizes that it must be grounded in fact, since "Nature would not invest herself in

such shadowing passion without some instruction." He falls in a trance. Iago gloats that his

poison is working. Cassio appears and Iago tells him that Othello is having an epileptic fit.

Cassio leaves. Othello awakens and thinks Iago mocks him about his sore head, as if it

were growing cuckold horns. Iago suggests Othello hide and observe Cassio when he will

again brag that he is "to cope your wife." Othello stands aside and Iago questions Cassio

about Bianca (not Desdemona as he said to Othello.). Cassio makes jokes about her, saying
he would never, as a customer, want to marry her, that she [Bianca] is persuaded only out

of her own love that they will marry. Bianca arrives and angrily returns the handkerchief to

him. Othello left alone with Iago concludes Cassio cared so little about Desdomona that he

gave the handkerchief she had given him to Bianca. Othello is now determined to kill

Desdomona. Iago suggests he strangle her in bed rather than poison her. Lodovico, a

kinsman of Desdomona, arrives from Venice, and enters accompanied by Desdomona.

Othello reads the letter Lodovico brings, but makes angry comments about Desdomona,

finally striking her and implying her infidelity. Iago in private disparages Othello to

Lodovico, and Lodovico wonders if this is the noble Moor so unshakable in the past. The

citadel. Othello questions Emilia about Desdomona, but Emilia defends her and suggests

some wretch has put the wrongful ideas in his head. Othello thinks she is merely an

effective liar and is assisting her in her liasions. Desdomona enters with Emilia. Othello is

insulting, implying they are like customer and whore, and asks Emilia to guard the door for

the "procreants". He interrogates Desdomona, asking her to swear she is honest (faithful),

but accuses her of being false. He will not believe her, calling her a whore. He leaves,

giving Emilia money as if for services. Desdomona asks Emilia to lay out her wedding

sheets. Iago arrives and Emilia tells him of the cruelty Othello showed to Desdomona.

Emilia suspects there is a villain who has put Othello up to this, but she does not suspect

Iago. Desdomona hopes to win back the affection of her husband. Iago attributes all this

begavior to Othello's concern with the business of the state. Roderigo and Iago meet.

Roderigo accuses Iago of accomplishing nothing for his efforts, jewels, and money. But

Iago reassures Roderigo he will soon have Desdomona. Iago tells Roderigo that the

Venetian commission has sent word to deputize Cassio in Othello's place as governor, and

to send Othello to Mauritania (Africa). Iago wants Roderigo to kill Cassio, thereby

delaying the departure of Othello, and tells him that Cassio sups that night with Bianca.
The citadel. Othello, with Lodovico, tells Desdomona to go to bed and to dismiss her

attendant. Left alone, Emilia prepares Desdomona for bed. Desdomona has foreboding

thoughts and asks that she be wrapped in the wedding sheets if she should die before

Emilia. She recalls the sad "Willow" song taught her by her mother's maid from Barbary,

and sings it, though frightened by sounds she hears. She asks if Emilia would be unfaithful

for all the world. Emilia is pragmatic and would indeed be so, suggesting wives should

repay husbands for their own infidelity. But Desdomona would not be unfaithful even for

all the world.

A street in Cyprus at night. Iago positions Roderigo to attack Cassio as he leaves Bianca.

Roderigo attacks but Cassio stabs him. Iago, from behind, wounds Cassio in the leg. He

later reappears as if he had not been there before and summons an alarm. Othello arrives

and is happy to see Cassio lying wounded. Gratiano (also a kinsman of Desdomona) and

Lodovico appear but are cautious and stand off. Iago acts as if he is defending against

Cassio's attacker and kills Roderigo, then tends to Cassio's wound. Bianca arrives and Iago

expresses suspicion of her involvement in this plot. Emilia arrives, and Iago instructs her to

tell Othello and Desdomona of the attack. A Bedchamber in the citadel. Othello enters,

Desdomona is asleep in her bed. He debates killing her, and kisses her, "So sweet was ne'er

so fatal". She awakens and he asks her if she has said her prayers, and wants her to confess

her sins. He accuses her of giving the handkerchief to Cassio, which she denies. He says

Cassio is dead, and she weeps—this angers him and in a rage he smothers her despite her

pleas. Emilia arrives and, not seeing Desdomona, informs him of the murder of Roderigo

and that Cassio lives. She discovers Desdomona and calls him a devil, saying Desdomona

was true to him. He tells her Iago told him that Cassio and Desdomona were lovers, and

she says he lied. She ignores his threats with his sword and calls out Murder. Montano and

Gratiano and Iago arrive. Emilia demands that Iago refute Othello.'s version of what
 happened, and when he sticks to his story she calls him a liar and villain. Othello falls on

the bed and cries out in despair and Emilia says "Nay, lay thee down and roar;/For thou

hast kill'd the sweetest innocent/That e'er did lift up eye." Iago threatens Emilia with a

sword but she will not cease her accusations. She says she gave the handkerchief to Iago,

who had begged her to steal it. Othello runs at Iago, and in the scuffle Iago stabs Emilia,

then flees. Othello is disarmed, then Montano and the others chase after Iago, leaving

Othello locked in with Desdomona and Emilia. Cassio is brought in on a litter with

Lodovico, Montano, officers, and with Iago as prisoner. Othello wounds Iago and is

disarmed. Othello calls himself an "honorable murderer", acknowledges he plotted with

Iago for the murder of Cassio. Iago refuses to speak further. Lodovico produces letters

found on Roderigo which tell of his plot with Iago to kill Cassio. Cassio says he found the

handkerchief in his room, and Iago has confessed to planting it there. Roderigo's letter also

tells of the plot against Cassio while he was drunken and on watch. Lodovico announces

that Cassio is now governor of Cyprus, and that Iago will face torture to force further

confession. Othello asks that "When you shall these unlucky deeds relate,/Speak of me as I

am; nothing extenuate,/Nor set down aught in malice. Then must you speak/Of one that

loved not wisely but too well." He stabs himself, saying to Desdomona "I kissed thee ere I

killed thee. No way but this,/Killing myself, to die upon a kiss." Lodovico commands Iago

to look on the tragic outcome of his plotting. He commands Cassio to seize the fortunes of

Othello and to arrange the censure and torture of Iago. He will return to Venice to relate

what has happened.

The character Iago, in William Shakespeare’s Othello, could be considered evil because of

his plot against Cassio and Othello. Othello, could be considered righteous, because he

believes his wife has been unfaithful. The line between these two labels, evil or righteous, is

thin. Ultimately, actions speak louder than words. Iago is evil in his actions towards Othello,
but between the two, Othello is the most evil for reacting to lies in the most violent of

ways. Iago is nothing more than a devious mastermind and Machiavellian of the Shakespearean

tragedy, Othello. Whilst Iago does try to communicate multiple reasons for his motives in

wanting to destroy Cassio and Othello these are mere rationalisations and excuses to provide

justification for his evil actions and can only be accepted when analysing Othello on a surface

level. Looking into Othello further we can see that Iago is a power thirsty character that dwells

in his corruption and evil which makes him such a disturbing villain.

Iago is also jealous of Othello's ability to woo the young and alluring Desdemona Iago stands

supreme among Shakespeare's evil characters because the greatest intensity and subtlety of

imagination have gone to his making, and because he illustrates in the most perfect

combination the two facts concerning evil which seem to have impressed Shakespeare most.

The first of these is the fact that perfectly sane people exist in whom fellow-feeling of any

kind is so weak that an almost absolute egoism becomes possible to them, and with it those

hard vices — such as ingratitude and cruelty — which to Shakespeare were far the worst. The

second is that such evil is compatible, and even appears to ally itself easily, with exceptional

powers of will and intellect. In the latter respect Iago is nearly or quite the equal of Richard,

in egoism he is the superior, and his inferiority in passion and massive force only makes him

more repulsive. How is it then that we can bear to contemplate him; nay, that, if we really

imagine him, we feel admiration and some kind of sympathy? Henry the Fifth tell. Driven by

an overpowering lust for evil rivaled only by Satan, Iago grabs the title as worst Shakespeare

villain hands down. On the surface, Iago's motive for wanting to destroy Othello could be one

of several. The most obvious is that he has just been passed over for a promotion which has

gone to Cassio. He confesses to Roderigo that this is the reason for his hatred; the reason for

his desire to ruin Othello. The evil in Iago becomes visible from the very beginning of the

play. He explains at the beginning how he was passed over for the position of lieutenant by
Othello, who gave the position to Cassio. This gives Iago cause for not only hating Othello

but Cassio as well. Iago’s hatred for Othello becomes even more apparent by his simple

statement "I hate the Moor" (Oth. 1.3.588). His hatred for Othello is partly based on his belief

that Othello had an affair with his wife, Emilia. He says, "And it is thought abroad that twixt

my sheets / He’s done my office" (Oth. 1.3.588). This belief is based purely on rumor and

nothing more. It is during this speech that Iago gives insight into his plot to make Othello

think that Cassio and Desdemona are having an affair. This will ultimately be the fuel that

exposes the evil in Othello. Othello’s deep love for Desdemona is the reason behind the deep

hatred he begins to feel. Early on Othello proclaims how happy he is and how much in love

he is with Desdemona. "For know, Iago, / But that I love the gentle Desdemona" (Oth.

1.2.572). Othello also seems consumed with passion for Desdemona. This is best indicated

when he announces to everyone in Cyprus "That profit’s yet to come’tween me and you",

reminding Desdemona that they had not yet consummated their wedding vows (Oth. 2.3.601).

Later on, Othello seems to expect that something will go wrong when he proclaims to the

exiting Desdemona that he deeply loves her and that "when I love thee not, Chaos is come

again" (Oth. 3.3.619). This may be a very innocent proclamation of Othello’s love, but in

reality it is an ironic lead into what Iago has in store for the two of them.

Iago’s story of Desdemona and Cassio has the power to turn a man in love into a man full of

hatred. Othello’s attitude, during the first discussion with Iago, is one of clear denial. He

claims that he would simply "whistle her off, and let her down the wind", or divorce her in

other words (Vanita 3). As time goes on, the accusations that Iago has made, against Cassio

and Desdemona, begins to churn in Othello’s mind. He tries hard to forget the claims but

when Iago offers him proof, he begins to break down and cries out "I’ll tear her to pieces"

(Oth. 3.3.631). One would normally ignore this remark, assuming that he was simply

speaking in anger, if it were not for his call for "revenge" shortly after (Oth. 3.3.631). The
true evil in Othello begins to show when he commands Iago to kill Cassio by saying "Within

these three days let me hear thee say / That Cassio’s not alive" (Oth. 3.3.632). What makes

this directive so evil is that Othello has not yet seen any proof. He has only heard the

accusations from one person (Iago), and yet he has already decided that they are both guilty

and they both should die. Iago and Othello’s approaches to the rumor of infidelity are slightly

different. Iago is more content with the thought of Othello going insane, rather than killing

his wife and her suspected lover. While Othello calls for death, Iago wants to sleep with

Desdemona or at least drive Othello insane with jealousy and take over Cassio’s position as

Lieutenant. While Iago was thinking out loud, he expressed a need to be "evened with

[Othello], wife for wife" (Oth. 2.1.600). This was explained by one author as Iago desiring

"to sleep with Desdemona as he imagines Othello has slept with Emilia ..." (Zender 1). Iago

feels these are simple requests for restitution that he is owed. If Iago would have succeeded in

his original goals without spilling any blood, would he have been considered evil? He may

have even been revered for accomplishing such a task. In his mind Othello truly did sleep

with his wife, Emilia, as he said, "I know not if’t be true; But I, for mere suspicion in that

kind, will do as if for surety" (Oth. 1.3.588). He clearly felt that he was setting things to way

they should be. He should be the Lieutenant, not Cassio, and Othello should know the agony

of having someone he trusted sleep with his wife. Unfortunately, Iago begins to enjoy the

game a little too much. As Othello’s mind churns on the thought of Desdemona and Cassio,

Iago fans the flames with the infamous handkerchief. The handkerchief is not only the key to

succeeding, but the ultimate key to the plan’s failure.

The misplaced handkerchief rekindles Othello’s hatred and need for murder, because he

believes it is charmed or magical in some form (Oth. 3.4.635). If his father truly did stay with

his mother because of it’s power, then what would it mean for his marriage if his wife were to

simply give it away. Othello perceives this as a total break in the marriage. He no longer sees
her as his "dear love", but as a "Devil" (Oth. 4.1.649). He has lost his magical power over the

"fair Desdemona". Othello’s goals, of the deaths of Desdemona and Cassio, are much more

defined than Iago’s ever changing plan for revenge. It is also much more evil than anything

Iago has done to this point. After hearing what he believes to be Cassio describing an

interlude with the fair Desdemona, Othello proclaims, "How shall I murder him, Iago" (Oth.

4.1.646). At this point, Othello’s violent and evil nature has taken over his actions. Iago’s evil

side shines through when Othello begins to weaken. When Othello begins to speak of

Desdemona as "A fine woman! A fair woman! A sweet woman!", Iago quickly interjects

"Nay, you must forget about that" (Oth. 4.1.646-647). Iago does not want Othello to start

feeling sorry for Desdemona. Iago, also, feels the need to direct Othello on how Desdemona

should die. While Othello is contemplating how to kill her and resolves to poison her, Iago

suggests a death of irony. "Do it not with poison. Strangle her in her bed, even the bed she

hath contaminated" (Oth. 4.1.647). The evil in Othello rises back to the surface and proclaims

joy at the thought of suffocating Desdemona in the very place that she "cuckolds" him.

Iago’s lack of a complete plan indicates that he never expected to be successful. Iago does not

dwell on thoughts of murder, but still feels that it will be necessary. He elicits the assistance

of Roderigo and battles within his mind if he wants Roderigo or Cassio to live through the

fight. It isn’t until he realizes the possible danger of Cassio denying the accusations, that he

finally resolves to letting Cassio die. During this mental battle, Iago is still thinking of

Desdemona as a goal for Roderigo who, if he lived, would try to win Desdemona by giving

her the "gold and jewels that [Iago] bobbed from him" (Oth. 5.1.663). This would mean that

he did not think Othello would be able to accomplish such an evil task of strangling his own

beloved wife. Then the failure of the attack on Cassio, causes Iago to kill his assistant.

Ironically Othello hears Cassio’s cries for help and assumes that his own plan is on

schedule. Desdemona’s unwarranted and cruel death, expose the evil inside of Othello. While
Iago is making sure that Roderigo has nothing more to say, Othello is begging Desdemona to

say her final words. Desdemona pleads for her life and even asks that she be aloud to live just

one more day or even thirty minutes longer (Oth. 5.2.671-672). There is no in-depth

description of Desdemona’s death, yet one can surmise that if she was arguing for her life

while she was breathing, she would continue to fight while she was not. If you were to poison

someone, you could simply walk away and ignore them dying, thus removing yourself from

the act of murder, but in order to strangle (or smother) someone, you must hold their writhing

body still while you keep them from taking a breath. This is not an act of love, but an act of

pure violent evil. Both Roderigo and Emilia die at the hand of Iago, in a cowardly way.

Iago’s plot is exposed by Roderigo’s letters and by his very own wife explaining the missing

handkerchief. While Roderigo is pleading for help, Iago (his supposed friend), stabs him to

keep his secret unknown (Oth.5.1.666). Iago then stabs Emilia from behind while she

explains her husband lies (Oth. 5.2.677).

Exploring the evil in these characters causes one to not only look at what they do, but why

they do it. Iago is firm in the belief that Othello has slept with Emilia. He feels that this act

gives him the right to act the way that he does. Iago’s actions, though deceitful and evil, are

not nearly as evil as Othello’s actions. Othello, thinking that Cassio has slept with

Desdemona, does not plot to destroy his name, but instead plots to murder him. Othello is

also guilty of murdering his own wife in a most vile and evil way. These lies may have been

planted by Iago, but it is Othello’s own decision to carry out these murders. Should Iago’s

soul carry the blame for the lies that had an evil result? Iago’s hatred of Othello is profound;

he does not employ him as his lieutenant and there is a suggestion that he bedded Emilia

previous to his relationship with Desdemona. The relationship between Othello and Emilia is

never corroborated but Emilia has a very negative opinion of Othello, possibly based on

dealings with her own husband? Othello would be very attractive to someone in Emilia’s
position; he is very demonstrative in his love for Desdemona but sadly this turns sour and his

character becomes more recognizable to Emilia as a result. Othello is brave and celebrated

which could also account for Iago’s intense hatred of him. Jealousy defines Othello and also

the characters associated with his downfall.

Othello is related to archetypal theory and maxist theory. Marxist criticism is a type

of criticism in which literary works are viewed as the product of work and whose

practitioners emphasize the role of class and ideology as they reflect‚ propagate‚ and even

challenge the prevailing social order. Rather than viewing texts as repositories for hidden

meanings‚ Marxist critics view texts as material products to be understood in broadly

historical terms. In short‚ literary works are viewed as a product of work (and hence of the

realm of production and consumption

Othello is a play that focuses on a man striving for power; doing anything in his way to get it.

Iago is the perfect Marxist character for these reasons. He does not care what his actions do to

the people around him, he is willing to do anything to gain his power, and he manipulates

people to gain the power that he seeks. All of these are qualities of a Marxism because a

Marxist states that people of lower standing will always strive to climb the ladder of life, and

will do anything to move forward. In the next three paragraphs I will be focusing on scene 3

Act 3 because this scene has the essential information to prove that he is a character that

reflects Marxism. Iago’s actions through the whole play show that he has no concern for the

people around him. “Which at the first are scarce found the distaste/ but with a little act upon

the blood/ burn like the mines of sulfur” (III.iii.335-37). In this quote, Iago is basically saying

that he hopes the thought of cheating he planted in Othello's head stirs and makes him think

about it all night long, so he becomes more convinced that Desdemona is cheating on him He

convinced cassio to spend more time with desdemona to get her to get othello to give cassio
his rank as lieutenant back. “ I’ll tell you what to do. Othello’s wife has a lot of influence

now. He’s completely devoted to her. Go open your heart to her…. I bet my lucky stars your

problem will be forgotten” Iago says to Cassio. This was the start of his evil plan getting set

up by getting cassio to be with desdemona more. The next step was to get othello to notice it

then to get him jealous. After telling othello of stories about cassio and desdemona’s love life

he makes up a story about desdemona giving cassio her handkerchief. “ i seen him wiping his

beard with it” Iago tells othello. Othello then asked desdemona about its whereabouts but she

had misplaced it. Othello got upset and the plans was going accordingly. Emilia then steals

the handkerchief and gives it to Iago. It is not only the presentation of Iago but also that of

Desdemona and her marriage to Othello that shows Shakespeare’s concern with social class.

While often the racial elements of their marriage are foregrounded by audiences and critics,

anxieties about the social elements of their union are never far from the surface. The response

to Desdemona’s elopement speaks of outrage at a character straying beyond the boundaries of

her social class. Roderigo, inciting the anger of Brabantio, speaks of Desdemona’s elopement

as if it is a rebellion. Desdemona, he says, ‘hath made a gross revolt/ Tying her duty, beauty,

wit, and fortunes/ In an extravagant and wheeling stranger/ of here and everywhere’. It seems

the ruling class of Venice are conscious of keeping their privileges to themselves and fear

contamination from those outside their social class. Roderigo’s choice of words distances

Othello as a lower-class outsider: in this context, ‘extravagant’ means roaming or vagrant.

This idea reinforces earlier social slurs, such as ‘a knave of common hire’, and is picked up

again, albeit in a more flamboyant manner, when Othello is termed a ‘wheeling stranger’,

which perhaps carries a sense that his wandering nature and lack of belonging make him

unsettled to the point of being unstable or dizzy. Furthermore, Iago’s ideas articulated by

Roderigo infect Brabantio and gain further momentumwhen the senator prepares to go to the
Duke and the senators to spread fear by broadening what he perceives as the problems of his

family to his whole social class.

Othello is the archetypal tragic hero, a man with numerous heroic qualities but whose flaws –

his gullibility, anger and desire for vengeance – ultimately lead to both his own downfall and

that of those around him. Had he used his characteristics and energies for positive ends he

could have achieved great ends, but instead his focus on negativity led him to the ultimate

archetypal fall from grace. In Iago Shakespeare has created a cunning and manipulative

archetypal villain, willing to exploit the flaws he sees in others to achieve his goals and

desperate for power. His self-centred view of the world makes him willing to destroy all of

those around him in order to achieve what he wants. Othello and Desdemona are archetypal

star-crossed lovers, destined by fate to be together but doomed both by the character flaws of

Othello and the actions of others to tragedy. heir different racial backgrounds also acts as a

barrier which they must overcome to be together, but one which will ultimately help to tear

them apart. Desdemona is the archetypal innocent, one with a naive and optimistic view of

the world who wants to believe the best in everyone despite evidence to the contrary. She

embodies goodness and honesty, but as a result is doomed to die due to the actions of others.

Cassio is the archetypal scapegoat, blamed for the evil doings of others (Iago) and used by

Iago in order to manipulate Othello. the Moor of Venice tells the story of Othello, an esteemed

foreign general, who after marrying Desdemona, the beautiful daughter of a Venetian senator,

is manipulated into extreme paranoia by Iago, a spiteful ensign. Having been led to think that

Desdemona has committed adultery, Othello murders Desdemona, and upon realizing his

deception by Iago, subsequently commits suicide. Though the plot itself is relatively simple, the

subjects addressed throughout the writing constitute a story of utmost complexity and depth. At

the heart of Othello is the titular character himself, a man torn between tenderness, hate, trust

and jealousy.
The play ends in a spectacle of tragic violence: Emilia intercepts Othello after he’s murdered

Desdemona and reveals Iago’s treachery. Her revelation is corroborated by information from

Cassio and a letter found in Roderigo’s pocket. In a vain attempt to prevent his scheme from

being revealed, Iago stabs and kills Emilia, and is then taken prisoner while Othello,

lamenting the loss of his wife, kills himself next to her. Notably, Iago is left wounded but

alive at the end of the play. Cassio is charged with determining Iago’s punishment, and urges

“the time, the place, the torture, oh, enforce it” (5.2.). The ending symbolizes the culmination

of the violent forces put in motion by Iago at the start of the play. He aimed at “practicing

upon [Othello’s] peace and quiet / Even to madness” (2.1.). Iago has been so successful that

Othello feels compelled to kill himself, explaining that “I kissed thee ere I killed thee—no

way but this, Killing myself to die upon a kiss” (5.2.). Not only has Othello murdered his

beloved wife, he also has to face the horrible truth that his suspicions of her adultery were

completely unfounded. Othello’s suicide serves as a kind of trial in which he decides on and

enacts a punishment for his crime of killing Desdemona. In his final speech, he explains how

he hopes to be remembered, saying “When you shall these unlucky deed relate / Speak of me

as I am” (5.2.). Perhaps because he knows he has never been fully accepted by Venetian

society, and that they will be quick to twist his reputation into that of a barbaric killer,

Othello spends his final moments reminding his audience of the ways he has faithfully served

Venice. Immediately before he stabs himself, Othello draws a comparison to how he killed “a

malignant and turbaned Turk…the circumcised dog” (5.2.). The comparison might suggest

that Othello, as a result of his crimes, now sees himself as an outcast who deserves to die in

the same way, or it might imply that by voluntarily punishing himself for his crimes, he acts

in a way that is consistent with his previous military valor. Either way, Othello asserts an

autonomy and control over his destiny that contrasts sharply with the way he has been

manipulated throughout most of the play.